Klarinet Archive - Posting 001102.txt from 2000/01

From: "Clark W Fobes" <reedman@-----.com>
Subj: [kl] Terminology - "Flexibility"
Date: Mon, 31 Jan 2000 21:03:50 -0500

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Dan Leeson wrote:

You ought to read the catalogs of clarinet manufacturers and examine =
the
puffy language that is used to describe what the clarinets will do for
you. =20

Another way to answer your question is to suggest that "flexible" is
advertising hype. =20

Gee Dan! You are such a cynic!

I do agree with you that a lot of language regarding mouthpieces and =
musical instruments is imprecise, but for me as a mouthpiece maker, =
"flexible" does have
meaning. "Flexible" is a term that I have also heard from my outstanding =
teachers (including Rosario) to describe a specific quality that is =
essential to a good mouthpiece.

Flexible or flexibility is described in the dictionary as:

1.Capable of being bent or flexed; pliable
2.Susceptible to influence or persuasion; tractable
3.Responsive to change; adaptable
4.Capable of variation or modification

Obviously, the mouthpiece is not capable of being flexed or bent, =
but the tone is.
"Flexible" in the case of mouthpieces refers to the ability to not only =
to manipulate the tone easily, but the ability to make large intervals =
easily and to play with a superior legato. I also consider a mouthpiece =
"flexible" when it responds easily to lip pressure for the purpose of =
adjusting pitch.

Flexibility is a quality that comes from a smoothly finished and =
properly proportioned facing. It is also essential to have a correctly =
shaped tip rail and tip baffle.

There are several tests for flexibility.

Pull out your Langenus, Baermann or other technical studies and play =
through the interval studies, particularly thirds and sixths. Does the =
mouthpiece render a beautiful legato in the areas of the two register =
"breaks"?=20

Play repeatedly (slurred) into the altissimo register from high "C". =
C-C#, C-D, C-D#, C-E, etc. All of the intervals should be produced =
smoothly without "grunts" or squeaks (This test assumes that you have =
the correct air flow, embouchure and a sufficiently supple reed)

A final test is to play the mouthpiece in ensemble. Can you easily =
adjust the pitch to match your colleagues?

Perhaps this will help to clarify the term "flexibility" in regard =
to clarinet mouthpieces.

Clark W Fobes

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